Rosalía, Network Spectatorship and New Poetics of Live Broadcasting
DOI:
https://doi.org/10.30962/ecomps.3193Keywords:
Live broadcasting, Networked audiovisual, Connected listening, RosalíaAbstract
The article discusses transformations in the poetics of live concert broadcasting considering how we experience music and audiovisual media in digital environments. Based on singer Rosalía’s performance at Lollapalooza Brazil 2023, broadcast by Multishow and fan profiles on social media platforms, the study analyses how the dynamics of television broadcasting are linked to smartphones, vertical images, selfies and TikTok gestures. By emulating the visual grammars of social media, Rosalía and her team activate a complex network of dispositifs that points to changes in the broadcasting experience, which is now more fragmented, entangled, and marked by vertical images.
Downloads
References
ARCE, J. Between Raquel Meller and Rosalía. In: LEDESMA, E.; DELGADO, L. E. (ed.). The Routledge Hispanic Studies Companion to Twentieth and Twenty-First Century Spain. Tradução de Linda Grabner. 1. ed. Londres: Routledge, 2025. p. 656-668. Disponível em: https://www.taylorfrancis.com/books/9780367810207/chapters/10.4324/9780367810207-58. Acesso em: 16 jun. 2025.
AUSLANDER, P. Liveness: Performance in a Mediatized Culture. 2. ed. Londres; Nova York: Routledge, 2008.
AUSLANDER, P. Reactivations: Essays on Performance and Its Documentation. Ann Arbor: University of Michigan Press, 2018.
DELEUZE, G.; GUATTARI, F. Mil platôs: capitalismo e esquizofrenia. Tradução de Ana Lúcia de Oliveira, Aurélio Guerra Neto, Lúcia Cláudia Leão e Suely Rolnik. São Paulo: Editora 34, 2020.
D’SOUZA, S. Screen and Heard: Is TikTok Changing the Way Pop Stars Perform?. The Guardian, on-line, 5 jan. 2023. Disponível em: https://www.theguardian.com/culture/2023/jan/05/screen-and-heard-tiktok-changing-pop-shows-rosalia-lorde-1975. Acesso em: 21 ago. 2023.
FISCHER, G. D.; PALMA, G. R. #Challenge Memory Unlocked: o TikTok como dispositivo construtor de memórias audiovisuais a partir da música. Revista Eco-Pós, on-line, v. 25, n. 1, p. 249-273, 2022.
GREINER, C. O corpo: pistas para estudos indisciplinares. São Paulo: Annablume, 2005. (Coleção Leituras Do Corpo).
GROSSBERG, L. Cultural Studies and Deleuze-Guattari, Part 1: A Polemic on Projects and Possibilities. Cultural Studies, Londres, v. 28, n. 1, p. 1-28, 2013.
GUNTHERT, A. The Consecration of the Selfie: A Cultural History. In: ECKEL, J.; GUNTHERT, A. The Consecration of the Selfie: A Cultural History. Études Photographiques, on-line, n. 32, 2015. Disponível em: https://journals.openedition.org/etudesphotographiques/3537. Acesso em: 4 jan. 2025.
GUTMANN, J. Audiovisual em rede: derivas conceituais. Belo Horizonte: Selo PPGCOM-UFMG, 2021.
GUTMANN, J.; DALLA VECCHIA, L. Lives musicais em performance: mise-en-scène e encenações audiovisuais do “ao vivo” em Billie Eilish. Revista Eco-Pós, on-line, v. 25, n. 1, p. 274-300, 2022.
HARAWAY, D. Antropologia do ciborgue: as vertigens do pós-humano. Belo Horizonte: Autêntica Editora, 2009.
JANOTTI JÚNIOR, J.; QUEIROZ, T. A.; PIRES, V. Deixa a gira girar: corporeidades musicais em tempos de escuta conexa. Belo Horizonte: Selo PPGCOM-UFMG, 2023.
MANUEL, P. The Rosalía Polemic: Defining Genre Boundaries and Legitimacy in Flamenco. Ethnomusicology, on-line, v. 65, n. 1, p. 32-61, 2021.
NUNES, P.; MAIA, R. Fotografia selfie em festivais: experiência cultural como dispositivo para a nova imagem urbana. Vista, Minho, n. 3, p. 71-94, 2018.
PATRICK SANTOLI SHOWS!. Rosalía – Saoko @ Lollapalooza Brasil 2023 (Abertura). YouTube, on-line, 27 mar. 2023. Disponível em: https://www.youtube.com/watch?v=myLyxTmxx20. Acesso em: 24 fev. 2025
PÉREZ-ORDÓÑEZ, C.; CASTRO-MARTÍNEZ, A.; TORRES-MARTÍN, J. L. Nuevas estrategias de promoción en las Industrias Culturales: el lanzamiento en TikTok del álbum Motomami de Rosalía. ZER: Revista de Estudios de Comunicación, País Basco, v. 27, n. 53, p. 189-211, 2022.
PIRES, V. A. N. “Put that shit away”: concertos ao vivo, midiatização e incômodo. Fronteiras: Estudos Midiáticos, São Leopoldo, v. 20, n. 2, p. 157-167, 2018.
PIRES, V. A. N. Rastros da música ao vivo: dos palcos aos shows em salas de estar. Curitiba: Appris Editora, 2019.
PIRES, V. A. N. A produção do “aovivismo”: música, tecnologia e performance midiatizada em tempos de isolamento social. ALCEU, Rio de Janeiro, v. 21, n. 44, p. 152-171, 2021.
PIRES, V. A. N. O tempo da escuta musical: o ao vivo na música a partir da dimensão temporal da escuta conexa. Intexto, Porto Alegre, n. 55, p. e-130524, 2023. Disponível em: https://seer.ufrgs.br/index.php/intexto/article/view/130524. Acesso em: 19 ago. 2023.
PÖELL, T.; NIEBORG, D.; VAN DIJCK, J. Platformisation. Internet Policy Review, on-line, v. 8, n. 4, 2019. Disponível em: https://policyreview.info/node/1425. Acesso em: 29 abr. 2023.
POLIVANOV, B. B.; CARRERA, F. A. S. Rupturas performáticas em sites de redes sociais: um olhar sobre fissuras no processo de apresentação de si a partir de e para além de Goffman. Intexto, Porto Alegre, n. 44, p. 74-98, jan./abr. 2019.
ROCHA, R. Rosalía – SAOKO – Live @ Lollapalooza Brasil 2023. YouTube, on-line, 27 mar. 2023. Disponível em: https://www.youtube.com/watch?v=IIOAmC5tOO8. Acesso em: 2 maio 2025.
ROSALÍA. Rosalía – Motomami (ROSALÍA TinkTok LIVE Performance). YouTube, on-line, 21 mar. 2022. Disponível em: https://www.youtube.com/watch?v=y51P8HNpwaM. Acesso em: 24 fev. 2025.
RYAN, K. M. Vertical Video: Rupturing the Aesthetic Paradigm. Visual Communication, on-line, v. 17, n. 2, p. 245-261, 2018.
SÁ, S. P. Música pop-periférica brasileira: videoclipes, performances e tretas na cultura digital. Curitiba: Appris, 2021.
SÁ, S. P.; POLIVANOV, B. B. Auto-reflexividade, coerência expressiva e performance como categorias para análise dos sites de redes sociais. Contemporânea, [S.l.], v. 10, p. 574-596, 2012.
SILVA JÚNIOR, F. M. M. Tiktok e música pop: relações entre mídia, plataformas e produção de conteúdo no meio digital. tropos: comunicação, sociedade e cultura, on-line, v. 10, n. 1, p. 1-17, 2021. Disponível em: https://periodicos.ufac.br/index.php/tropos/article/view/4978. Acesso em: 21 ago. 2023.
SOARES, T. Divas pop: o corpo-som das cantoras na cultura midiática. In: LINS, M.; MANGABEIRA, A.; SOARES, T. (org.). Divas pop: o corpo-som das cantoras na cultura midiática. Belo Horizonte: Selo PPGCOM/UFMG, 2020. p. 25-42.
SOARES, T. Escutar a música pop. INTERIN, Curitiba, v. 29, n. 2, p. 59-74, 2024.
ULENIUS, M. Tall Tales: Ancestry and Artisty of Vertical Video. 2018. Trabalho de Conclusão de Curso (Cinema Studies) – Department of Media Studies, Estocolmo, 2018.
VAN DIJCK, J. The Culture of Connectivity: A Critical History of Social Media. Oxford: Oxford University Press, 2013.
WASSON, H. Then Networked Screen: Moving Images, Materiality, and the Aesthetics of Size. In: LORD, S.; MARCHESSAULT, J. (org.). Fluid Screens, Expanded Cinema. Toronto: University of Toronto Press, 2007. p. 69-106.
Downloads
Published
How to Cite
Issue
Section
License
Copyright (c) 2026 Juliana Freire Gutmann, Victor Pires
This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License.
The submission of originals to this journal implies the transfer, by the authors, of the printed and digital publication rights. The copyrights for the published articles belong to the author, with the rights of the journal over the first publication. The authors can only use the same results in other publications, clearly indicating this journal as the source of the original publication. Because we are an open-access journal, the free-of-charge,educational, scientific, and non-commercial use of the papers is allowed, as long as the source is cited.
Authorship
Any person who has effectively participated in the conception of the study, the development of the experimental part, the analysis and interpretation of data and the final wording, is considered as an author. By submitting an article for publication in E-Compós Journal, the author agrees with the following terms: 1. The author keeps the rights on the article, but its publication in the journal automatically implies the full and exclusive disposal of the copyright rights for the first edition, without payment. 2. The ideas and opinions expressed in the article are the sole responsibility of the author, not necessarily reflecting the views of the journal. 3. After the first publication, the author is authorized to take additional contracts, independent of the journal, for the dissemination of the paper by other means (e.g. when publishing in the institutional repository or as a book chapter), provided that the complete citation of the original publication. 4. The author of a published article is allowed and is stimulated to distribute his work online, always with the proper citation of the first edition.
Conflicts of interest and research ethics
If the developed research or the publication of the article may raise doubts as to potential conflicts of interest, the author should declare, in a final note, that no links to funding bodies have been omitted, as well as to commercial or political institutions. Similarly, the institution to which the author is bound should be mentioned, as well as others that may have collaborated in the execution of the study, evidencing that there are no conflicts of interest with the result already presented. It is also necessary to inform that the interviews and experiences involving human beings have obeyed the established ethical procedures for scientific research. The names and addresses informed in this journal will be used exclusively for the services provided by this publication, not made available for other purposes or to third parties. The copyrights belong exclusively to the authors. The licensing rights used by the journal consist in the Creative Commons Attribution 4.0 (CC BY 4.0) license: sharing (copying and distribution of the material in any media or format) and adaptation (remix, transformation and creation of material from licensed content for any purposes, including commercial) are permitted.
